(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS
JEŻ, Tomasz (Instityt Muzykologii Uniwersytet Warszawski)
The motets of Jacob Handl in inter-confessional Silesian liturgical practice
Donnerstag/Thursday, 9.8., 16.30 Uhr, KuGe, SR 1
A large part of today known work by Jacob Handl is connected to some Silesian cities, in
which this composer had to spend a part of his young life. Between many traces of his
active presence in the music culture of this region, which we find today in the music
sources of its provenance, very important are his 70 compositions written down in the
manuscripts dated before the printed volumes later in Prague; a part of these compositions
were presumably composed during his Silesian period. These local reception were enriched
by some unpublished works and unica, collected in various part-books and tablatures
of our provenance.
But much more about the reception of Jacob Handl’s music are saying us such his
works, which had penetrated deep into a liturgical practice of the time and thanks to the
special characteristics of composer’s style created a kind of ‘classical’ repertory, much
valuated in a liturgical practice as well of catholic, like of evangelic music centers in Silesia.
The motets by Handl used to be exploited in various ways and because of its popularity
they had formed a root of the institutionally accepted musica figurata repertory, which
had survived long time as an important component of long duration renaissance tradition.
In that context one can ask, how such special treatment of the composer’s musical production
could have influenced the real cultural relationships between various confessions of
17 th century Silesia and also: how justified are preferred in today’s scientific practice the
mono-confessional historical reconstructions of the music culture of this time.
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JUDD, Cristle Collins (Bowdoin College Brunswick)
“How to Assign Note Values to Words”: Gioseffo Zarlino’s Pater Noster – Ave
Maria (1549 and 1566)
Mittwoch/Wednesday, 8.8., 10.15 Uhr, MuWi, HS 1
Of the thirteen motets in Gioseffo Zarlino’s Modulationes sex vocum (Rampazetto, 1566),
two – Victimae paschali laudes and Pater noster – Ave Maria – had already appeared in print
in 1549. As the only motets that Zarlino had previously published for more than five
voices, their inclusion in the latter book might merely reflect those works available for
reuse. However, with their reliance on a cantus firmus tenor from which one or more
voices has been derived canonically, both motets fit well in relation to the compositional
style that characterizes the 1566 collection. Further, the seven-voice Pater noster – Ave
Maria seems to hold a special place as the concluding motet of Zarlino’s two motet anthologies
(Musici quinque vocum moduli (Gardano, 1549) and Modulationes sex vocum (Rampazetto,
1566) and the most cited of his own works in Le istitutioni harmoniche.
This paper places the genesis of Zarlino’s Pater noster – Ave Maria within the polyphonic
tradition stemming from Josquin’s motet and including works by Willaert and
Jacquet of Mantua, among others. As I have shown elsewhere, many of the motets published
in 1549 broadly represent Zarlino’s studies with Willaert and this motet fits within
that spectrum. The Pater noster – Ave Maria as republished in 1566 was extensively revised,
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